November premieres might surprise viewers as they roll out. Where does this large batch of releases, guided by strikes, originate? Is it normal to see new episodes arrive before the actors’ dispute is settled? There are around sixty fresh series or new seasons, including opulent literary adaptations like The Light You Can’t See and Buccaneers, grand franchise expansions such as The Monarch: Legacy of Monsters, anime-style entries like Scott Pilgrim makes a breakthrough, ambitious new works from beloved writers such as Murder at the End of the World (from the creators behind The OA), and Netflix’s flagship titles stepping into a final phase with a fresh take on Crown. The lineup signals an industry with enough content to weather a double hit in the short term, especially for Netflix whose global footprint and production reach across many markets outside the U.S. lend it a major advantage over rivals. Even with Hollywood’s current mood, audiences can still enjoy a broad mix of cinema and series across platforms, plus international premieres from Europe, Asia, or Latin America that draw strong attention just as premieres do on HBO on Sundays.
Canceled and postponed series
The writer’s strike has led to a pause in several high-profile projects. After finishing Succession, viewers look to True Detective: Polar Night, with HBO exploring the best way to fill the gap left by the Roy family saga. The Idol struggled to meet expectations, and although Time of Victory: The Lakers Dynasty performed better, it lost a sizable portion of its audience in season two. These shifts reflect broader layoffs and programming cuts that followed a broader industry slowdown. Some breakthrough sketches on HBO or Max have also vanished from the schedule, including A Black Lady Sketch Show and The Other Two, a sharp satire of pop culture. Paramount+ has halted IP explorations like Grease: Rise of the Pink Lady and Fatal Attraction, or the thriller Rabbit Hole featuring Kiefer Sutherland, while SkyShowtime carries material from Paramount+. Prime Video also paused and then briefly renewed certain series, only to pivot when the strikes worsened, and Apple TV+ passed on remaking Metropolis with Sam Esmail. Large-scale projects from both streaming platforms and the big studios faced the same market rebalancing that hit the industry in those months.
The period also saw delays in renewal decisions and new installments across a spectrum of titles, from intimate dramas to big-budget spectacles. The broader market adjustment affected both expensive productions and smaller bets, underscoring a cautious approach to upcoming seasons and new launches during labor disputes.
Prime Video floated a second, brief season for Ellas dan el el cuerpo before stepping back, mirroring the slower renewal cadence seen with highly costly projects like Peripheral. Apple TV+ chose not to remake Metropolis with the original creative team from Mr. Robot. The most conspicuous cancellations ranged from the most celebrated shows to the most modest bets, all swept up in a market-wide recalibration.
No Euphoria, The White Lotus, or The Last of Us until 2025
The recovery timeline remains uncertain. At a New York press gathering, Casey Bloys, head of HBO and Max Content, suggested that new seasons of Euphoria, The White Lotus, and The Last of Us probably won’t arrive before 2025. Optimism around Welcome to Derry, the It prequel slated for next year, is already cautious. In regional Netflix schedules, expect a wait for the fifth and final seasons of certain series, with Stranger Things, You, and Emily in Paris moving forward at their own pace. After weathering turbulence in 2023, platforms face a slightly more unsettled 2024.
The film slate reflects a similar cadence: live-action remakes like Snow White are poised, Mission: Impossible — Deadly Circuit continues, new Star Wars installments land in 2026, and Pixar unveils a fresh original project Elio in the same window. Even as some projects stall, others are scheduled to rise, shaping the calendar for the coming years.
Nature is healing
While actors and studios trim costs, writers’ rooms have been rebuilt in early October as the strike eased. First waves of shows returning include Grey’s Anatomy, 9-1-1, Abbott Elementary, and Yellowjackets, with Deadline reporting that the writers’ room for And Just Like That… is back in operation. 2024 may bring fewer blockbuster American releases, yet platforms still hold strategic moves. Apple plans Lords of the Air, a spiritual successor to Blood Brothers, produced by Tom Hanks and Steven Spielberg, while Prime Video collaborates with Lisa Joy and Jonathan Nolan on Fall Out, drawn from a famous post-apocalyptic RPG. Disney+ confirms a third season of Bear for next year, and HBO’s Casey Bloys hints at a return of Home of the Dragon in the summer, alongside Larry David’s next dose of misanthropy in a new season.
Beyond Zirve TV
American television is unlikely to stay the same after the strikes, but a downturn does not spell doom. Scriptwriters and actors are expected to re-enter the rhythm, with protections against AI advances and improved working conditions. Viewers may see fewer titles at first, yet FX’s John Landgraf notes that the peak-TV era produced an enormous volume of original work in recent years, which would be hard to sustain at current pace. The hope is for a healthier balance where original ideas can flourish again within manageable budgets.
As industry veteran Frank Sponitz told Deadline at Mipcom, bursting the bubble could be beneficial in the long run. There is too much television, and some programs should never have existed. A smarter business model could emerge that works for creators, studios, and audiences alike, letting genuine creativity thrive without waste.